Interview with Festival Director Michael Kamel (DC Palestinian Film and Arts Festival)

August 1, 2017 festreviews Festival Interview, film festival, film festival reviews, Interview, interviews, Uncategorized DC Palestinian Film and Arts Festival, festival director, festival reviews, interview, matthew toffolo wildsound, Michael Kamel

Founded in 2011, the annual DC Palestinian Film and Arts Festival (DCPFAF) is a 501c3 nonprofit, volunteer-run enterprise that showcases the work of Palestinian filmmakers and artists around the world to audiences in the Washington DC metro area.

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Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Michael Kamel: The DC Palestinian Film and Arts Festival (DCPFAF) prides itself on creating a space for Palestinian subjectivity.We highlight the voices and stories of Palestinian artists from around the world. Filmmakers show audiences their debilitating morning commutes to Jerusalem through the infamous Qalandiya checkpoint, the horrors faced during the 2014 Israeli assault on Gaza, and life as a refugee in Greece. These are all stories that need to be heard.

But Palestinian subjectivity is also just that – life from the eyes of a Palestinian. One of our founders, Noura Erakat, describes it as not a Palestine festival, but a Palestinian festival. We’ve featured a short film about personal nostalgia and loss, a fictional animation on a street artist, and even a 1-minute fashion film. No Palestinian story is off the table!

What would you expect to experience if you attend the festival this year (2017)?

You should expect to laugh, cry, and move! The experience this year is loosely centered on Palestinian innovation in all forms, brought to the audience through several artistic mediums. Festival goers will be treated to a carefully curated selection of films that tackle topics from Palestinian image-making to Palestinian political prisoners, a live storytelling event featuring local DC Palestinian talent in partnership with the Boston-based Palestinians Podcast, the Hollywood writer-director-producer-actor extraordinaire Cherien Dabis, a new twist on the dabke (Palestinian folk dance), and more! There is truly something for everyone.

What are the qualifications for the selected films?

All of our films must be written, directed and/or produced by someone who identifies as Palestinian. We then evaluate them based on three criteria: production value, entertainment value, and creativity. Our programming team discusses each film, their position and impact in the festival lineup, and what we would want the audience to walk away with.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

Each festival has their own broad mission and yearly vision; sometimes, a phenomenal film just may not fit into the festival’s scope for that year. However, within Palestinian cinema, good films tend to receive their recognition because filmmakers and audiences realize that’s their chance of success. We must support our own artists because that’s how they succeed both within Palestinian cinema and beyond.

What motivates you and your team to do this festival?

A volunteer-run festival is truly a labor of love. Everyone on our team truly believes in and supports Palestinian artists, and is passionate about creating a space for them to share their work. We want to ensure that Palestinian art is getting the reach it deserves, and that people in our region aren’t missing out.

How has your FilmFreeway submission process been?

FilmFreeway has been a blessing for our festival, streamlining the process and ultimately making it easier and more accessible.

Where do you see the festival by 2020?

2020 will be the tenth year of the DC Palestinian Film & Arts Festival. I see our festival celebrating the past decade of Palestinian art, and building a platform for the next decade. We love to push boundaries. In 2016, for example, we teamed up with Shared Studios, Mercy Corps, and Gaza Sky Geeks on an audiovisual portal that connected artists, musicians, performers, and festival attendees in DC to their peers in the Gaza Strip, Palestine. It was amazing to see people dancing, singing, and talking literally across oceans and borders. We’re all about pushing the envelope like that, and we intend on continuing that trend into our tenth annual run and beyond!

What film have you seen the most times in your life?

I can’t lie, I’m not a person who watches movies more than twice (even if I love a film). Still, at the moment, the film I’ve seen the most times in my life has to be Moonlight. I can never get enough of that movie.

In one sentence, what makes a great film?

A great film shakes you to your core.

How is the film scene in your city?

The DC film scene tends to focus on documentary filmmaking (usually political), given the fact that we are the nation’s capital. Several Hollywood productions have even shot in DC—Jackie, VEEP, and House of Cards amongst others. You see how those three productions alone deal with politics in some way, shape or form?

There is also an amazing independent film scene. Howard University alone is a pioneer in the area, with professors like Julie Dash (Daughters of the Dust) and Haile Gerima (Sankofa). I’ve had the privilege to work alongside some amazing filmmakers from Howard.

American University’s acclaimed film program is home to remarkable filmmakers, including the Palestinian filmmaker Najwa Najjar (Eyes of a Thief).

And, of course, I have to mention my alma mater, George Mason University. Our film program has also been pushing cutting-edge filmmakers and works to the forefront. Shout out to the amazing faculty, including Giovanna Chesler, Lisa Thrasher and the Emmy-nominated Hans Charles (Director of Photography on the Oscar-nominated 13th).

I’ve often encountered people who think that DC filmmakers are only churning out documentaries about the White House. In actuality, our artists create so much more!

ABOUT MICHAEL KAMEL
Michael Kamel is a local filmmaker and the Curator and Co-Director of the DC Palestinian Film & Arts Festival. His film work often explores themes of identity, loss, and relationships. Subjectivity fuels his content, and he strives to provide a nuanced platform and voice for often unheard subjects. You can view more of his work at michaelkamel.com.

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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TV REVIEW: TWIN PEAKS – S03 E12 – LET’S ROCK

July 31, 2017 festreviews Mary Cox, television, Television Reviews, tv, TV Reviews, Uncategorized Chrysta Bell, David Lynch, Elizabeth Anweis, Kyle MacLachlan, LET'S ROCK, Mary Cox, mary frost, television, TV Reviews, TWIN PEAKS – S03 E12

Director: David Lynch
Writers: Mark Frost
Stars: Kyle MacLachlan, Elizabeth Anweis, Chrysta Bell

Review by Mary Cox

This season of Twin Peaks is another testimony to Lynch’s commitment to diegetic sound and to silence. Every episode ending with a performance at the Roadhouse is an obvious example of how Lynch uses diegetic music in his work, but the previous two seasons played with this (in an arguably less successful way) through moments such as James’ weird and unnecessary performance of “Just You.” Silence is just as important as diegetic sound for Lynch when it comes to building tension in his scenes. Some of the more long and drawn-out moments from this episode, such as the exit of Gordon’s French Woman, are set against an empty audio backdrop to really highlight and exacerbate our feelings of frustration.

Lynch did decide to cut us a break with the dynamic return of Audrey Horne, although her interaction with her soon-to-be ex-husband still heavily plays into the theme of impatience and waiting that we’ve seen throughout the rest of the episode. While most of the characters are somewhat the same as they were twenty-five years ago, Audrey has evolved from a shit-stirring schoolgirl into a viciously unhappy adult. The true identity of “Billy” clearly is a mystery, but one thing that we do know for sure is that he’s not the same person as Richard Horne. There’s been no clear explanation as to how Audrey escaped from her coma, but we do learn from Benjamin Horne that Richard never had a father. This definitely provides evidence to the theory that Richard is actually the son of Bob Cooper, who we know was seen exiting Audrey’s hospital room towards the end of the second season.

After Grace Zabriskie gave us another incredible performance as Sarah Palmer in her stunning supermarket meltdown, the scene between Hank and Sarah has a small detail that you might not have caught initially. It’s worth mentioning that the new season of Twin Peaks is definitely more connected to Fire Walk With Me than you might think. When Hank visits Sarah’s house, we get a quick shot of the infamous ceiling fan that we know is heavily symbolic of Bob/Leland’s abuse of Laura. When we connect this particular imagery to the unusual sounds coming from inside Sarah’s house, it’s possible to interpret that there’s still some connection to Bob or to the Black Lodge inside the Palmer residence.

The theme of tonight’s episode, as well as within the the last few episodes in general, is a criticism of impatience, and a meditation on the notion that “good things come to those who wait.” We’ve seen this motif in past episodes, such as in Part 11’s screaming woman in traffic, and the Mitchum Brother’s frustration with Candie in Part 10. This depiction of impatience has continued in Part 12 through Albert’s frustration at Gordon over his long goodbye with the French Woman, and through Audrey’s temper tantrum while her ex-husband is on the phone. Even Hutch and Chantal’s conversation about killing the Warden comes back to not wanting to drag things out.

We have also seen patience be rewarded. In Part 9, Betty Briggs is rewarded for waiting a quarter of a century to give Major Briggs’ capsule to Bobby and the other Sheriffs. The Mitchum Brothers are rewarded with 30 million dollars (and a cherry pie) by showing patience in Part 11. As fans of the series, we all are desperate to know the truth about the Black and White lodges, and to see Cooper make a full return. Lynch knows how we feel, and is imploring us to show a little patience and to enjoy this series while it lasts. Like Gordon Cole says to Albert: there’s a fine Bordeaux right in front of you, so sit down and drink it.

******
“Mary Cox is an entertainment writer from the United States. Her hobbies include making good beer and bad decisions, watching drag queens fight on the internet, and overanalyzing everything. Mary one day hopes to be the person shouting “World Star” in the back of a Waffle House brawl video. She is currently tolerating life in Toronto. You can follow her on Twitter at @M_K_Cox”t

GAME OF THRONES Season 7 EP3 Review: THE QUEEN’S JUSTICE

July 31, 2017 festreviews Mary Cox, television, Television Reviews, tv, TV Reviews, Uncategorized D.B. Weiss, David Benioff, GAME OF THRONES Season 7 EP3 Review, Lena Headey, Mark Mylod, Mary Cox, Nikolaj Coster-Waldau, Peter Dinklage, THE QUEEN'S JUSTICE

Daenerys and Jon meet. Cersei gains a new ally. Sansa receives an unexpected visitor. Sam is confronted for his actions.

Director: Mark Mylod
Writers: David Benioff, D.B. Weiss
Stars: Peter Dinklage, Nikolaj Coster-Waldau, Lena Headey

Review by Mary Cox

After seven long seasons of waiting, Daenerys’ plot has finally intersected with that of the Starks. Those who were hoping for an instant love affair between Jon and Dany must have been sorely disappointed. Some might be surprised by Daenerys’ open hostility towards Jon, but she is the Mother of Dragons after all. The need for good relations between the North and Dragonstone has obviously been increased by Daenerys’ military failures in her first foray into the Great Game, but will Jon repeat the diplomatic mistakes of Ned Stark, or will he take after his (alleged) bio-dad, Rhaegar Targaryen?

This was another episode jam-packed with dramatic deaths that highlight the differences between Jaime and Cersei Lannister. Before her death by poison, Olenna castigated Jaime for his overwhelming pussy-blindness, and forescasted his eventual downfall at the hands of Cersei. Even though it’s sad to see her go, it’s rewarding knowing that Olenna went out with a bang by confessing that she was behind Joffrey’s death at the Purple Wedding.

What’s notable here is the difference in diplomacy between the last two Lannisters in King’s Landing. Cersei’s brutal execution of Ellaria and Tyene Sand is miles apart from how Jaime handles his murder of Olenna. It seems that even though the Targaryens are back on the scene, Cersei is the one who is following in the steps of Aerys, the Mad King. As we all know, those who don’t learn from history are doomed to repeat it. As the Kingslayer, Jaime Lannister is no stranger to cutting down an out-of-control monarch, but does he have the ability to make that call when it comes to his sister wife?

TV REVIEW: RICK AND MORTY – S03 – E02 – Rickmancing the Stone

July 31, 2017 festreviews Mary Cox, television, Television Reviews, tv, TV Reviews, Uncategorized dan harmon, Dominic Polcino, justin roiland, RICK AND MORTY – S03 – E02, Rickmancing the Stone, taiwan, TV Reviews, Wesley Archer

Rick, Morty, and Summer travel to a post-apocalyptic dimension and meet some dangerous enemies.

Directors: Dominic Polcino, Wesley Archer
Writers: Dan Harmon (created by), Justin Roiland (created by)
Stars: Justin Roiland, Chris Parnell, Spencer Grammer

Review by Mary Cox

After the April Fools surprise of the first episode of the season being leaked early, Rick and Morty is finally back and on a clear release schedule. Tonight’s episode has Morty and Summer trying to cope with their parent’s divorce by escaping into a Mad Max-type post-apocalyptic desert world to try and work through their emotional issues. Morty deals with his unresolved anger at his father through his mutant arm in a refreshing take on the “enchanted armor overpowering its user” trope. On the other hand, Summer unsuccessfully dives headfirst into a relationship to try and fill the void in her life caused by her family breaking apart.

It’s interesting how Summer is taking such an active role in her adventures with Rick while Morty has historically been hesitant to participate. As much as this episode made it seem like Morty and Summer are over their parent’s divorce after their return from the Apocalypse world, it does seem like this particular emotional thread is going to continue throughout the rest of the series.

A lot of time has been spent establishing that Jerry and Beth’s relationship was toxic and codependent, so it feels like a step in the right direction for them to get divorced. However, their separate lives that were showcased in the first Intergalactic TV episode seem to imply that despite their issues, Beth and Jerry are better off together. We’ll have to wait and see how this dynamic plays out in future episodes.